Welcome at the Aalto University in Linz. We are contributing this year to the Ars Electronica Festival with our project called Loops of Wisdom. It's exhibition, it its sound performances its presentations its intervention we are indoor we are outdoor here at the main square we were inspired by a paper called loops for wisdom by Joop Morgan professor for collective intelligence and parasocial innovation and we were questioning what does wisdom actually mean and when wisdom takes place and what does it have to do with knowledge. Wisdom does actually also mean action. Here at the Aalto University this is actually what we are doing. We are creating knowledge also via our artistic practice. We think finding wisdom is a long way with a lot of loops, with a lot of twists, but we would like to go this way. The main part of the whole exhibition is Interface Cultures, contributing 19 artworks and the topic is Interface Cult. Every year since actually 2004, Interface Cultures invites a partner university or partner universities. We are here at the Splace Gallery and in this exhibition space we have invited Z.H.D.K., the Zurich Hochschule der Künste, the Zurich University of the Arts to present their works and in particular the students and the alumni from the Interaction Design Department who are celebrating 20 years. We have nine departments from the Art of Linz that are collaborating here. And these are time-based and interactive media arts, visual communication, industrial design, fashion and technology, architecture and urban studies, space and design strategies, art, education, design and technology, and media design. Hello! Welcome to our exhibition this year from Interface Cultures Master Programme. My name is Davide Bevilacqua and here on my side we have Fabrizio Lamoncia. We have been taking care with all the rest of the team of the department for the setup and the production of this exhibition, which has the title Interface Cult. Yeah, and this is our, I think, the 15th time that Interface Cultures is represented at the Ars Electronica Festival. Yeah, it's a long tradition, and every year we collect the works that have been produced in the year, and we feature it here at the Art Art University and this year we have something like 17 projects so we have to hurry up otherwise we will never gonna make it in this video. So we want to invite you to come to the exhibition space where some of the projects are represented but as well as Interspace Sculptures doesn't deal only with gallery space projects, we also have workshops happening during the week, and as well performances from other students happening in places like Deep Space and at the Yotkau. Yeah, exactly. So, as you mentioned, one of the workshops here, we will start maybe with the first of the works, which is here. Hello, you're not... Yeah, maybe you can tell us a couple of words about the work which is the exciting research. Yes. Hello, my name is Jorge Guevara. I'm working in collaboration with Joe Caimo, which is one of the students of the cultural interfaces and we are doing four-day workshops every day from 12 to 1 about we are measuring and calculating the energies between people so is the idea is that we are using an IoT device that is this it's called the Moody this is the second iteration of a project that we start like Joe initiated the project like four years ago, and two years ago we have this IoT device, and now it connects to a server, and with the server then we start calculating the energies between people. So at the moment we don't have a beacon system that we use to calculate the position of the devices, and basically how it works is we have here at the back. Yeah, and this you develop it also through workshops, right? To what? Through the workshop, in the exhibition. Yes, yes. So the idea is that together we try to measure and calculate and discuss about the politics of data measurement. What does it mean for one to become, like in a way, the project, let's say the project, it will challenge the idea of the body as a constructor unity in favor of the post-human or the cyber, where you can become more than just one body and try to get away from all the assumptions by gender identity and this kind of things in the way that you become data you become a color in that way you leave your body you become data and that comes back to you and after that we discuss with the people what does that mean basically thank you and you. And you're going to have this project represented as a workshop happening every day? Every day from 12 to 1, outside. We do an intro of the project, then you can start walking around. We have some dances. And then after we come back here, here's where the, let's say, the path finishes, because at the end you print, then you have a QR code and then what you receive with the QR code you can go and then you receive and the average of the color that you have during the whole process and a timeline of the color that you have. And also you have a JSON file that's very interesting because we gave back data to you so we are not collecting the data. And with that data you can use and create something. Thank you. Thank you very much. Join the workshop whenever you have time these days. Yes, you can come. I think that you don't need pre-registration, so just come any day at 12. Yeah. And you'll be able to. Exactly. So the second project that we are featured here is from Parica? Yes, Parisia. Parisia, do you want to tell us something about the work? Yes. So this project, it's Tara's Diary is the name. It's an augmented reality book. It's a diary of a 29-year-old woman living in 2052. So through these diaries the readers engage with different aspects of her life influenced by technology and data and so we use different methods such as a speculative design and design thinking a storytelling to speculate about the future of the internet and technology and the work that is driven by data. Can you interact with the story? With the objects? Yeah, so we use augmented reality to add a different layer to her memory. So through augmented reality, the readers interact with different layers of her life and this augmented reality reveals some secrets about her life. Thank you. Thank you. Thank you, Parisha. The next work that we have in this tour is also a work dealing with also with human and machine in a way and is a chat bot and here we have the artist. Hello. Yes, my piece is called sorry, painfully human chatbot. And it's a chatbot that implements time consciousness and tiredness in its code. So the behavior of it, it will be that maybe from eight to four it will be nice and a good worker, but after that it will change the behavior because it will be out of their working hours. So it depends on the time, the behavior of the chat depends on the time. And yeah, the concept behind it is this kind of demand of constant availability that we have today and to reflect about maybe how much values we are assimilating from technology and from the use of it. Thank you. Yeah, so we can proceed with the next work. Maybe Hess, which is on the other side. We don't have time to see all the works in the details, but just to give you a glimpse of the exhibition. Here a machine produced by Hess. Hi. Hello. Hi. Here I'm presenting a project which is based on the other open source projects. It is a CNC printer, but instead of using ink, it uses needle and thread to make loops pixel by pixel. And it prints day by day, so this one from yesterday, and today is the eighth. And I'm also presenting my kit, which also contributes to the idea of making open source artworks that's easily shareable and replicable. Thank you. And you can also buy the prints, right? Yes, of course. Yeah. Thank you. Thank you. Maybe we can move on with Lea. Lea Schnell. Lea, please, could you tell us a little bit about your project? Yeah, sure. So it's a sound installation, which is made with this copper coated circuit board, which is forming this sentence, technology is not neutral. And if you activate one of the words like this, then a different sound file is activated and there are texts and speeches mixed together with other sounds and quotes are about discourses of technology and the different attitudes and controversial opinions existing at the same time in society and the impact it has on society. OK. Yeah, it's a strong message that we try to bring also in many of the other works and I think it's nice to see it very clearly defined in this way. If we continue in this way we see, I mean, there are here some other works like in the back if you look at here there is another work from Norsk... from north this period is called riza here the artist is collaborating with some species of mushrooms so she's cultivating the mycelium and then it's trying to establish some kind of system of communication between the participants the audience and the mycelium itself. And I think it works through vibration. So the audience is invited to remove the shoes and step on this already dry, dead mycelium that it's, I think, vibrating. Yeah, according to some values of the living mycelium. So you create a connection between the living and the human body again. Yeah, please try it because it's very nice. And it's difficult to show on video, of course, because it's a haptic experience. Another experience that you do here is? This project is from Daphne, a student from Greece. She's been it's called Sonic Utopias and I think it's a physical representation of a series of podcasts that she's been producing during this stage of lockdown because all these projects have been produced during this year so partly produced and conceptually thought during this lockdown. So I think that they were engaged in creating some kind of space also to collaborate with other artists. And they were doing this series. And here the representation is with these shells, since the podcast deals about technology and also this kind of multi-species collaborations. So you can use the shell to listen to the podcast. So I think that five podcasts are represented inside of the shell. So it's like this very intuitive kind of collaboration and communication system that we do by putting the shell in our ear. Yeah, this is a very utopian-based work which reflects the ideas between human, animals, and technology. And this is also a result of a similar process. From Funda, she's a student at AC she's an Erasmus student from Bauhaus University this year was here with us and she created these sculptures which is eventually also augmented with AR based on the cyborg manifesto so making a mapping of all the data in the in the text we. Try to visualize it in the 3D space. Yeah. And right next we have the projects from Anais. Anais was also an exchange student from France, from Aix-en-Provence, and her project is called Year to Year. So she made these And her project is called Ear to Ear. So she made these beautiful ceramic sculptures that they are also working as interfaces where if you approach and you put your ear to it, you can listen to some private messages that the audience is also recording. So right next to the installation, you have some kind of like confession booth that she created where you can record your message. It will be sent to a server mixed together with other secret messages and then eventually they will be represented in the installation. We have to rush a bit. Here there is a project from Nomi Sasaki. She's an alumni nowadays. She has been working a lot with the idea of interaction through people, cameras, like people, theater, plays. This is a, it's very difficult to see from the, for the camera, I guess. You have to look here inside in the hall, and there will be a story that is visualized only if there is an interaction. So if, Brice, you want to look, maybe we can see something. We'll try to, yeah. It's a work in which the interaction becomes essential for the displaying of the story. I guess, can you see maybe something happening in the light? It's a bit difficult to show it in a way, but I can try to see it myself. So yeah, this is something that on video comes very badly. So you have to come and try it yourself. Yeah, we have this international community of students. This project is from a student from Peru. And so this project is kind of like a remediation of traditional micro-performativity and micro-puppet theaters that are happening in the streets of Peru. Only usually with physical puppets. In this case, she's applying technology and things are a little bit automated and also the discourse deals with more like technology or contemporary narratives. Yeah, now we go in the second room, this is the dark room where the projects that need more light. And a bit more intimacy eventually. Yeah, yes, now this is the other room in which we have where the projects that need more light. A bit more intimacy eventually. Yeah. Yes. Now this is the other room in which we have some other projects that they need a bit more time and space to perceive it. Here is a work from Kevin Brackenstone. Can you talk about that? Yes. So this project is an exploration of personal space and distances. The title Two Meters comes from the recent provisions around the corona restrictions, but it's kind of a play on that. And the original concept predates that. But the idea is that as one moves through this space, it radially, rather like a radar hand, sonifies your position and expands that into this room space. So while you're taking up the space here, this space sonically expands to encompass the width of the room. And you can follow the visualization here on the monitors. As you see, we are in the middle. And then our interation, the space between us, is also sonified and made perceivable. Yes. Thank you, Kevin. Thank you. Thank you. And next is a project from our Serbian student, Kristina Tica, who will explain the project herself. KRISTINA TICA- If I may. So this project is titled Future Falls Positive. And what does it do? It's based on styleGAN and object recognition algorithms, where I applied them to a ritual of Turkish coffee cup reading. So I connected sort of human bias, which comes in psychological form of epiphenia and pareidolia, and computer bias of false positive, creating this interplay where computer is trying to recognize patterns and make sense where there is none, where it's just abstract shapes and noise. Thank you. Thank you, Christina. Then the next project that we have here is from Sarah Konarek. I will give you the mic. So this is my game called Telecode. The player finds themselves in a maze full of teletexts and has to find parts of a cipher, which is inspired by Anne Lister, who created this code in the 19th century to write about her relationships with women. And once you find all of these parts, you can enter a password, which gives you access to a room where you'll be given information about hidden parts of queer history, which unfortunately still are not really being taught in our educational systems. And it also gives you some resources where you can find more information about these topics and support. Thank you. A second in which, ah, so this is the labyrinth full of text, and with some hidden secrets as well, right? Okay. Thank you. Next, we are going into our VR section, where we are presenting Balint's project, who is a VR project presented in Mozilla Hub, where he's collaborating with different sound artists. So he's creating this garden space with different rooms and different sculptures, and then the collaborators are using the space to create their sound installation. So this installation is happening on the browser, so I think that everybody is welcome to participate either with a VR headset or by using the keyboard. And right next to this piece, we have the piece from Razia and Vahid, who create this beautiful game installation, storytelling, narrative in VR. Please could you present it and talk a little bit about it? Yeah. You want to try it? Yeah, just go. I will put it up. Yeah. This project is a virtual reality project we build several different spaces which are the spaces in this the idea is to have like virtual reality inside virtual reality inside virtual reality in each scene the participant found will find a virtual vr headset that they can try it and go to the next level you can select it Thank you, Razia. Thank you. And next project in this space, we have this project from Barbara, Eremi. Barbara, she's just tinkering these Furby toys. If you look close, she hacked them completely and then if you press the button they are going to activate and communicate with you. So she's using this kind of like strategies based on elements of nostalgia and childhood memories, and then adding her own artistic interpretation and a little bit of a creepy aesthetics into it. And our last artwork in this room, and then there are other things happening in the workshop session in the deep space. But the last presentation of today is from Qian. Please introduce your work. Hi, I'm Qian and this is my work Private Garden. So it's an interactive installation which projects AI generated and computer processed garden visuals onto the surface of a bed, turning this bed into my private garden. And visitors can lie on a bed and move their body to interact with the generated image. It's very comfortable. Yes, I got this inspiration during quarantine time because usually I'm a garden lover. And when I'm stressed or sad, I go outside to take a walk in the garden. And I might read there, eat something something and my mood will feel better but during quarantine I have to stay indoors and I realized I stay in bed all the time shamefully I also eat in bed read in bed do a lot of things then I realized this resemblance between bed and garden, so I decided to create an artwork about a garden in the bed. Thank you. Yeah, that's it. Thank you. Yeah, as many of the works that we have here in the exhibition, interactive things need to be tried. It's difficult to convey what is the feeling of staying there and chilling out in the garden, in this AI-generated garden. But yeah, thanks for staying with us for these presentations, and we hope to see you in these days. IRIC MARTINS- To see you around. Thank you. IRIC MARTINS- Thank you. So I'm Iric Martins, and we're here from the Zurich University of the Arts to present to you the Infinite Nows exhibition, which is a celebration of the 20 years of interaction design. And I'm actually here with Gerard, who actually founded the interaction design department at the CETA-HTK. Yes, I would like to ask you, how did it all start? How did it start? Well, so first of all, welcome to the audience and thank you for the possibility to speak a little bit. Well, the beginning was, how can I say that? Someone said that every good technology is a kind of magic. And in these days, in 2000, about this technology which rises up and get kind of mature, we saw a lot of potentials for a classical art university to establish new materials, digital materials. And so Switzerland was a good place. We had good conditions, we had good financial equipment and we had open-minded people in the school. The situation and the atmosphere was open for change. So we developed Quick and Dirty, something which opens up a lot of perspectives in terms of playing with electronics, a lot of perspectives in terms of playing with electronics, programming, new ways of playing with art ideas, with theories and so on. And this was a kind of a melange which was interesting and which attracted a couple of people in the beginning and even more and more and this was a playful start and it was not that serious today we have so serious dimensions in all that political ones and public ones and yeah serious ones and but that that time was more joyful, more playful, more... Yeah, and big experiment. So, quick and dirty, it was fun. So maybe if you reflect a little bit on the past 20 years, and now today when you're coming back and seeing this exhibition from the set of HDK. How do you see the development or do you see any like, you know, towards the future? How has it developed and what is your take on this exhibition? Well, first of all what is interesting today is that the material what is interesting today is that the material dimension changed a bit so we have today a lot of works about biology about nature about soil about fungi and all these things so the material changed completely and but this is for me an indicator that the range of possible projects is infinite there is no stopping you know and there's no aim it's just and this is my impression it's not always the same but it is I have a big question why I don't see I don't see the yeah the big picture in the background you know it changes a lot it's it's so much interesting thing you can you can see and every year in every semester students around the world develop some so many interesting tiny little projects and it's everything is oh cute and oh interesting our super and wow and this works really and but why and this question is is important for me because yeah we have we have big issues in our society today and we should have good answers why we do things. No, I think you're completely right. And I think that's also, you know, Carmen who curated this exhibition, we've been also talking a lot about how, you know, we have to bring in all different senses. And that's also what we're trying to showcase in this exhibition. The future is not only on a screen but it's actually coming to more kind of bio design and trying to propose a lot of different aspects and angles on interaction design and what we can actually do. And I think that's for me at least the beauty in this exhibition is to see all the creativity of the students and and so many new kind of proposals of how we can use technology but also some of the scarcities of this technology. I think it's very easy to say if we play with nature, nature plays with us or nature plays back you know. And so we have a little bit a divided idea about it because if you talk about the possibilities of culture we are so funny and we are so powerful and we are so brave and intelligent and if it's about nature against, we are so serious and somehow scared. And I think we need the humorous approach towards both directions. So we play with nature, nature plays with us. What we see right now in these times of COVID-19, well, the nature is playing, you know. And now we are the victims and we have to love about that because we are also playing. Everybody, everything, every nature is playing around, testing, experimenting, trying to find the best. That's it. It's very easy. Enjoy. Welcome to Itoi Corporation's project Mission Eternity. I'm Itoi Monorom and this is Itoi Silvan. We are here to show part of Mission Eternity. Mission Eternity is a project exploring life after death. Therefore, Itoi developed the Tomatar and several other projects. This is a long-term project. We're gathering data almost with our test pilot, Mr. Kaiser. You see him here. And Ito and Silvan now will explain you what exactly the TAMATAR are stand for in this huge data gathering project. Basically the TAMATAR are spherical robots that embody data of our test pilot, Mr. Kaiser. And they kind of the meaning of the Tamatar is that they represent a physical representation of the characteristics of Mr. Kaiser. So we kind of interviewed him and extracted sound fragment of his voice. And based on what he's telling, these spherical robots, which are like 16 in total, they tell stories or fragments of Mr. Kaiser's characteristics, of Mr. Kaiser's digital legacy so to speak, in form of this sculpture of these 16 spherical robots. If you are interested in Mission Eternity you always can go to the website and watch the same movie as here which explains more about the project Mission Eternity. Maybe this project was developed in collaboration between the eTOI Corporation and ZHDK interaction design as part of a MA project we did quite some time ago. Hi, my name is Florian Bruggiser and I studied at ZHDK and did there my master in interaction design two years ago and what I present here at ArcelorKronika is my work Deep Vision. In my work here at ArcelorKronika is my work, Deep Vision. In my work, I explored different sensors of machines to get a sense or an idea of how machines perceive our world. So how do they see the world? How do they recognize things in our world? And I did that because I think it's important to have an understanding of how machines see things to be able to decide about if we would like to live with these machines, if we would like to have them in our lives, and also to have an idea of what they're capable of. Because we have self-driving cars, we have robots, we have drones and all of them are kind of using sensors to get an idea of what's around them. And we're using these devices every day and we, or a lot of people, do not have an idea of what they're really capable of. So what I'm exhibiting here is one of these devices I looked into and it's a LiDAR scanner. You see it over here. It's from the company Leica Geosystems. And this LiDAR scanner is a device or a sensor that is also implemented in a lot of technological devices like cars or drones. And what it does, it's sending out laser rays, a lot of laser rays, and they are reflected over a mirror. And with this, it's possible to scan the whole room. So what you see behind on the projection, you see all these dots and each of these dots was one laser ray that has been reflected for example from the wall or from myself and with it the like a device is able to sense its surrounding in 3D. Like it's only 2D, but it's really like creating a 3D map of what's going around, on around it. Yes. And the idea was to give the visitors a way to understand how this device works by visualizing what it perceives. Hi, so I'm Erika Martens, so I'm presenting the TASTE Lab, which is this product and it's a multi-sensorial experience which involves touch, sound and also the taste. So it's basically an experiment in virtual reality and how we can eat in virtual reality and also how we can trick our different senses with this new technology. So basically what you see in the headset is actually exactly the same setup as you see in this video. But the only thing is that we're actually tricking the senses by feeding something very different of what you are getting fed in the virtual reality and then you would have the binary sound of something very different as well so it basically tricks the brain in different ways by using all these different senses and this project was made during a one week workshop with being at the lab at ZHCK together with Stella Speciali and Juan Garcias in 2018. Thank you. Okay, hello. I'm Daniel Holler and this is Vincent Slottenegger. We're showing here our work from 2019. It's called VoteHandlem.org. VoteHandlem.org is a platform for people to participate in politics and to empower people to vote. This platform works like this, that people with voting rights can sign up and a person without voting rights can also sign up and they can make a meeting over the website. We also provide conversation guidelines for the physical meeting when they have to meet up in a physical place. Yes, so VoteTandem is a digital platform where excluded people can get a vote in Switzerland from a person that has voting rights but wants to share that vote. And it works like this. You have a person that has the voting rights, signs up on the website with a location, date and time for a physical meeting. And on the other hand, a person that wants to receive the vote can choose from one of those meetings on the website to meet and to exchange the vote. And the whole thing is based on a smart contract. It's like a program running on the blockchain, which means it's not possible to take it down. And it's also fully transparent, running all over the world. With the project, we wanted to help people to talk about some very abstract topic like voting rights and make it concrete. So there are more people included in that discussion and that there's not just a very binary decision on it or from yes or no, but also like how and who should be able to vote. And maybe two words about this installation. We have the computer here with our running website because it's not a concept, it's actually, we call it now a digital artifact here for the exhibition, but this is the actual website where people can sign up. We also have on the other side a video which explains our whole journey with the platform and what it cost for a public debate about voting rights, especially in Switzerland. Our digital artifacts are accompanied by this advertising column, which is a usual way in Switzerland to advertise for voting or for elections where parties or initiatives show their initiative to vote about. We had some graphic designers design these posters with their personal influence about the political topic. When the project was launched in 2019, lots of media articles picked it up and there were also very vivid discussions on social media and in comment sections on the media articles. And it really changed the way they talked about this very abstract topic. Hello, my name is Aurelian and this is Carlo and we are exhibiting our project Tales of Aridnu. It's our bachelor thesis project and we worked with the notion of intelligence and intelligence within bodies so we created artificial bodies that have the possibility to move their parts with artificial muscles the whole project was created with an overall notion of narration to show possibilities of such machines without a hindering cognitive possibilities just by the use of their bodies. We created narrative videos, and the biggest part of the project was the concept, which we then compiled to a book with the process and research part. Here you can see a working prototype of the inflatable body together with the artificial muscles, how it could work in a realistic setting so to say. So we have been invited from the Linz University to come and set this up exhibition up, to celebrate as well the 20 years of interaction design that the Zurich universities of the arts are celebrating this year um so infinite nows is an exhibition that is showcasing students and projects of the interaction design department in Zurich um and it's probing alternative presents through investigative and speculative and very kind of experimental practices. And the Infinite Nouns project really reflects the values and the approaches of the interaction design department that has been shaped over the 20 years of existence. So it's above all kind of the realities and the entanglement of the human and the non-human actions. So it proposes varieties of ways of taking action and that also offers us a space to be with and learn from one another. So the exhibition looks at the range of topics, including cross-species interaction, self-per perception in deepfakes. We also have kind of inclusive voting system, antisocial social media platforms and interactive technologies that produce moments of sharing, presence and caring. So I really hope that you enjoyed this exhibition and yeah, I want to thank all the students for their great work and also thank Linz for inviting us I think it's been such a great pleasure to be here come to the Ars Electronica meeting all the amazing people I also want to thank the resource embassy for for supporting us and also for Freitag for supporting our students and our work. Thank you very much. So this is the Department for Time-Based and Interactive Media Arts and we are here at the campus exhibition with 14 works and we show very very diverse works. Partly it's like this here, this one here is a sound installation audio visual sound in sound installation in the other parts we also have VR works and installations and now I give the mic over to Chiara who is going to talk a little bit about her installation floating hi I'm Chiara Macznik. I'm the artist of this installation that you can see in the background. It's called Floating, and it's about dissociation or the feeling of not being completely in your body. And it deals with how reality is constituted and also if the way we perceive the world is even real and I tried to make this installation immersive so you can experience the feeling that people with this phenomenon experience in their bodies. So here we have a VR installation where you can see a cave, like an ancient cave, but instead of the drawings of hunters and deers. Here you can see images about the nowadays food distribution in a way and they are also slightly animated as you can see in the images here. Strange Faces is an interactive mirror work where you can interact with people and it works that when you are alone in front of the mirrors you always see yourself you can move around and you're every time see yourself but when someone other enters the room then you see the other people face and not your own and that is a way of a new communication for meeting strangers. So this work is from Deepa Anthony and it's a interactive poster where you can make the poster with any app with the app ArtDrive to a interactive poster where you see some animations and it also changes from day to night. And here we have a video game from Laurenz Wojka which deals with dreams and a character that wants to help other people solving their problems they have in their dreams. And as we can see, it's very, very nicely done with all these characters and all these little drawings and elements. And it's a lot about communication. That means you are talking to the other characters, finding out what kind of problems they have and how you can help them. And in the end, when you solved all the problems, you have the opportunity to learn to wakeboard. This work, Nach dem Guten Suchen, by Joachim Isene, is an interactive video or film that is controlled by eye tracking. As you can also see here in the video, you see where the viewer is focusing and depending on the parts of the images you are focusing on, the video develops into different directions. Here we have a game that's done by Felix Winkler. The title is Quarantine and it's about the situation when you are in quarantine and you have to close yourself in your flat and he was trying to figure out what is happening to us in such situations and trying to show this world in his own way with different colors and also what happens to the outside so if you look outside of the window the real world is kind of disappearing changing and the goal here is to find a way out of this situation and not to get insane hello good day my name is Daniel Fisher and this is my water map project. It's mainly about visualizing weather data shown as water drops on a map made out of wood and sand. And the nice thing about the sand is it has a kind of memory. So it shows also where it was raining. Actually, the the installation is running for a few hours and it's good to see already where it was raining, where it is raining now at the moment and I'm really curious how it will work out after a few days of running. This project is my bachelor work for time-based and interactive media art department on the Kunstuniversität Linz. The work Kanzlergenerator by Verena Steininger is a classical dart kind of device where you just shoot at it and what you hear some quotes of the counselor about the pandemic situation which he repeated again and again and again and that's also the focus of this work. The installation Guest Lights by Jan Pohs is a light and sound installation which is triggered by the wind. So this means it's an outdoor installation and when the wind blows strong enough then there is generated some sound and also some light. The sound work Circles in a Circle by Yuan Li is working on this touch table, it's a touch screen, and by moving the circles inside the inner circle and moving them around, you can create your own sounds and your own composition. Circles in a Circle is a part of a series of works which Johan called the sound of Kandinsky, which was inspired by the works of Kandinsky, which is also visible by the elements she was using. Hello, my name is Genevieve and I am exhibiting here with my fellow students from the Masters in Fashion and Technology at the Kunst-Uni in Linz. The theme of our exhibition is colour, movement, sound. So each of us are working with different themes in our projects and maybe I can show you around each individual project. So first I will bring you over here to Magdalena's work. Magdalena is a dancer and in her project she focuses on Wacking, which was a style of dance that originated in Los Angeles in the 70s. And she is using her dance moves and motion tracking them. Maybe we can have a look at the screen. I'm not sure if you can see that the video is coming up and so she's using motion tracking in digital fashion and fusing the aesthetics of the dance style and to create digital garments and which capture the movement of the dance and then it's visualized as a digital fashion piece. And so I'll just bring you to the next project. So this is Julie and Julie is working with the technique of dyeing textiles with bacteria. So she gathers different strains of bacteria in nature from lakes, from soils and then she brings them into the laboratory. She's actually working in JKU on a research project at the moment called Growing Colour and And here you can see her samples of textiles that she dyed using bacteria. So the bacteria is grown on the textile and it creates these colours. So it's literally growing colour and it's a really sustainable way to move forward with dyeing textiles because the textile dyeing industry is really contributing to the environmental crisis so it's really a sustainable way to dye textiles. And so you can have a look as well at some visuals. Okay, so maybe I'll bring you to the next project. So this project is my project and the title is From Voice to Voltage and I have a background in jewellery design and I'm working with specific metals in my project, titanium and niobium, that change color when charged with electricity and I'm linking this technique with the human voice and the sound of the voice is influencing the electricity which controls the color of the material so in short my work is really about customizing our adornments and our accessories with our voices to create completely unique and personalized and wearable pieces and and move forward um i think the future of fashion and and move forward. I think the future of fashion, all of the things that we wear will be uniquely personalized and customized. And that's the main theme in my project. So yeah, that's the tour. And thank you very much. Goodbye. Hello, welcome to the Crafting Futures Lab. My name is Irene Posch, and I will briefly guide you through our lab and the exhibits we have here. You will see projects by master's students of the program of design and technology teacher training, as well as work by members of the department and invited researchers and guests. And what we will see here especially is the toolkits made by master's students who are thinking about how to bring new topics concerned with the crafting of futures, the future of craft and in general how we want to craft futures, how to bring these topics on new investigations to the classroom, to the school and how the toolkits can facilitate new approaches in educational settings. So you have here like plant dyeing toolkit, you have works concerned with electronic textiles, biomaterials to be used for loudspeakers in this case, a toolkit for like exploring mechanical principles in a very playful way. 3D printing obviously as a toolkit to bring to the school like a box to bring the investigations into 3D printing technologies to the school and explore different materialities and structures and design possibilities connected also to an online educational resource. We have here a toolkit game concerned with wood as a natural resource, as well as the whole production process of wood. And I also briefly wanna point you to a collaborative project that we just started in collaboration with international guests, Teresa Almeida and Giulia Tomasello. It's called Intimate Interactions, where we're exploring how new materials, new soft materials and interaction can contribute to novel experiences, to explore healthcare in interactive ways and in like sensitive ways, as well as this project called the Stories of Materials by Monja Hirscher that is concerned with materials that you can find in the surroundings of Linz and what stories are connected to these materials, how you can make these materials and the stories accessible and maybe like build new associations and objects stemming from them. So in general, this was a brief intro to the Crafting Futures Lab that we newly opened as part of our department. And please have a look at our website, craftingfutures.net, where you can also find open source documentation of all the projects that you see here. Also like download links to all the toolkits you see here. So they can actually be used by anyone who is interested in educational settings in schools. And yeah, hope to see you soon. Thank you. in den Schulen und hoffe, ganze letzte Jahr Metamorphose. im Privatleben und insgesamt durch viele Faktoren, die im letzten Jahr sehr präsent waren für unsere Studierenden, notwendig wurde zu adressieren. Vor allem im Hinblick darauf, ein gestalterisches Moment zu evozieren, wie man mit diesen Veränderungen umgehen kann, wie man die reflektieren kann, transformieren kann. reflektieren kann, transformieren kann. Das war mir ein Anliegen und daher habe ich inhaltlich versucht, in unserer Abteilung Mediengestaltung am Institut für Kunst und Bildung der Kunstuniversität, diese thematische Klammer zu wählen, um all die persönlichen Transformationen, die Änderungen, wie wir medial miteinander kommunizieren, einen gesellschaftlichen Wandel oder einfach technische Veränderungen möglich oder eine Basis dafür zu geben, diese Veränderungen zu reflektieren und auch dadurch gestalterisch verwertbar zu machen. Wir befinden uns jetzt im Zuge dieser Loops of Wisdom Ausstellung beim Ars Electronica Festival in sehr guter Gesellschaft. Da drüben ist die visuelle Kommunikation, da sind die zeitbasierte und interaktive Medienkunstabteilung zu finden und vorne Fashion and Technology. zu finden und vorne Fashion and Technology. Und im Gang dazwischen bespielen wir als Abteilung dazugekommen und daher weiß ich über fast alle Arbeiten sehr gut Bescheid und freue mich natürlich, die Notwendigkeiten anzunehmen, um jetzt ein bisschen was über diese Arbeiten zu erzählen. anzunehmen, um jetzt ein bisschen was über diese Arbeiten zu erzählen. Ich würde vorschlagen, wir starten hier in der Mitte. Es gibt nämlich so drei bis vier Unterscheidungen oder Bereiche dessen, wie Metamorphose von unseren Studierenden bearbeitet wurde. Es war auch freiwillig in den einzelnen Kursen für die Studierenden zu wählen, wie und ob man an diesem Jahresthema teilhat. Eine dieser Varianten, wie sich Studierende damit befasst haben, war Transformation im Sinn von einem Kodieren, Dekodieren. Eine zweite Variante war eine Reflektion auf den gesellschaftlichen Wandel. Eine dritte war eigentlich ein Wahrnehmen und Reflektieren von persönlicher Veränderung. Und zu guter Letzt dann noch auch die Behandlung dessen, was sich medial verändert hat oder wie sich mediale Veränderungen auswirken können. Ich würde vorschlagen, wir beginnen jetzt ganz simpel mal bei dem Codieren und Dekodieren. Da gibt es zwei Arbeiten. Wir starten da einfach sozusagen am Anfang von dieser kleinen Bespielung von den Arbeiten mit Studierenden der Abteilung Mediengestaltung hier. Die Arbeit ist Midi-Code, eine Arbeit von Melanie Steinhuber. Diese neun unterschiedlichen Midi-Codes haben jeweils in dem Code-Feld eine gestaltete Form, die dem zugrunde liegt. Ich werde das da mal kurz exemplarisch auch vorführen. Wir haben jetzt sozusagen diesen Midi-Code gescannt und man kommt auf eine extra angelegte Website, wo man dann Play drücken kann und diese Form dann hörbar wird, die sich in dem Midi-Code versteckt. Ich werde es kurz einmal versuchen hörbar zu machen. Warum das hörbar ist, ist relativ leicht erklärt. Diese Form ist erstellt als MIDI-Notation in einer Digital Audio Workstation. Und so sind auch andere einfache oder komplexere Formen von der Studentin in dieser Midi-Notation erstellt worden. Das heißt eigentlich ein klanglich-gestalterisches Mittel dazu genutzt, visuell etwas darzustellen. Das wiederum dann hörbar gemacht durch die zweite Ebene dieser Transformation und zwar das Einbauen in den Midi-Code. in dem Midi-Code hier vom Kreis, hier eine Pyramide, eine Schleife und die anderen komplexeren Formen dann drüber. Es sind eben sozusagen zwei Ebenen der Codierung oder Dekodierung hier in der Arbeit spürbar und ganz klar eigentlich zuordnbar dem digitalen Raum oder dem digitalen Bereich. Anders ist es mit der zweiten Arbeit, die sich mit zwei Formen der Codierung auseinandersetzt. Man sieht schon, es ist eine physikalische Repräsentation dessen, wie auch das Medium an sich erfahrbar wird oder wie man das Ganze erleben kann. Ich werde das jetzt auch ganz kurz vorführen oder durchexerzieren und schauen, ob man das hörbar machen kann mit dem Mikro. Musik Das ist eigentlich ein schöner Verweis auf das Digitale, weil das Medium der Lochkarte hat natürlich grundsätzlich mit dem Beginn des Computers zu tun, insofern da ein Verweis, aber eine ganz analoge Variante, wie das benutzt wurde. Wiederum spielt in diesem Fall die MIDI-Notation eine Rolle in diesen zwei Ebenen der Kodierung und Dekodierung. In diesem Fall ist, was gerade zu hören gewesen ist, ein Teil der Biografie von Helen Keller, eine taubblinde Schriftstellerin in Amerika, die sehr wichtige Bücher geschrieben hat und auch sehr bedeutend rezipiert wird oder wurde. Und dieser Teil ihrer Biografie ist von der Studierenden Alexandra Lloyd-Fellner auf Braille übersetzt worden, also eine Schrift, die eigentlich taktil funktioniert und für Blinde das ermöglicht, dass man Text verstehen kann. Hier ist exemplarisch auch der Infotext der Arbeit in Braille wiedergegeben. Das heißt, Braille funktioniert eigentlich als haptische Repräsentation von Text. Und genau wie man hier sieht, die verschiedenen Punkte, die Braille dann ausmachen, findet man genauso wieder hier in dieser Notationstechnik, die auf die Lochkarte eingestanzt wurde. Immer wieder diese 2x3 Punkte, die auch glaube ich großteils in Braille das vorgeben, wie einzelne Buchstaben repräsentiert werden, hier übertragen in ein Notationssystem, das dann statt taktil spürbar, klanglich wahrnehmbar ist und somit die zweite Ebene dieser Codierung darstellt. Weiter geht es jetzt zu, würde ich mal annehmen, klassisch Bewegtbild mit Sound, also audiovisuelle Arbeiten, die auch wiederum von mir schon angesprochenerweise Reflektionen der Veränderung ansprechen, in dem einen Fall gesellschaftliche oder Veränderungen dieses Gebäudes. Die Arbeit Hydra von Jennifer Eder und Robert Staatser beschäftigt sich auch mit der Historie dieser Brückenkopfgebäude, beziehungsweise in einem gewissen Maße auch mit Kunst, dem Sammeln von Kunst und der Rolle, die hier in Linz auch in Bezug auf die NS-Vergangenheit verortet ist und verortet wird, in diesem Fall verarbeitet von den beiden Studierenden unserer Abteilung und zwar hauptsächlich auch immer wieder in Bezug darauf, dass die Sammlung Gurlit hier einen Punkt der kritischen Auseinandersetzung zusätzlich bietet mit der Geschichte der Gebäude in Bezug auf die NS-Vergangenheit und in Bezug auf die Kunstsammlung als solches. Kombiniert wird das Ganze mit Musik von Indorsia, also einer Metalband, die die entsprechende kritische und brutale reflektive Ebene auf dem Sound möglich macht. Diese Auseinandersetzung mit Veränderungen wie gesellschaftlich oder in Bezug auf dieses Gebäude, in Bezug auf die Nutzung notwendige Reflexionen und kritische Auseinandersetzungen nötig und möglich macht, steht dann die nächste Arbeit ein bisschen anders gegenüber. Wir haben jetzt dazwischen noch zwei andere, auf die ich dann gleich zurückkommen möchte, aber zuerst bleiben wir beim Bewegtbild. Und zwar ist hier zu finden die Arbeit ähnlich von Bertram Verde Soto-Galeas. Er setzt sich in dieser Arbeit mit seinen persönlichen Veränderungen auseinander und zwar vor allem mit dem Aufwachsen in Österreich und dem Fehlen einer Vaterfigur. Was wir hier sehen, ist auch das Aufarbeiten der Wurzeln, die nicht in Österreich liegen, sondern in Ecuador. Und was man ganz oben sieht in diesem verschachtelten Tryptychon, Was man ganz oben sieht in diesem verschachtelten Triptychon, ist der klassische Dia-Abend, nur in einer leicht veränderten Form. Dazwischen ist es so, dass die Musik von Lateinamerika eine tragende Rolle spielt, auch in der Länge von dieser Arbeit. Und ganz unten ist zusätzlich noch die gustatorische oder olfaktorische Wahrnehmung dann zusätzlich abgebildet in Bezug auf das Kochen eines unter unter Anführungszeichen, Nationalgerichtes. Ich glaube, Kartoffelsuppe in diesem Fall. Und die Medialität, also visuelles, auditives und gustatorisches zu verbinden, zeigt auch die verschiedenen Ebenen, jetzt medial in der persönlichen Reflexion und ein Auflösen in gewisser Weise von Dualismen, weil die ganze Arbeit ist auch von dem Buch Kunst und Antikunst von Susan Sontag beeinflusst und hat trotzdem eine Form gefunden, die mit ganz persönlichen Auseinandersetzungen und mit einem ganz persönlichen Zurückblicken und Reflektieren des Aufwachsens, der Kindheit, ja, eine dieser Metamorphosen oder dieser Transformationen widerspiegelt, die für den Studierenden in diesem Fall bedeutsamen Wandel im Zuge des Lebens abbildet. Ich bin sehr froh, dass sehr unterschiedliche Orten zum Thema Metamorphose entstanden sind, die auch diese persönlichen Prägungen abbilden. Eine verschiedenartig gelagerte Arbeit kann man hier sehen. Das ist eine topografische Videoinstallation von Reinhard Zach. Persönlich insofern, da er eine lange Radreise zurückgelegt hat, um genau zu sein, nach Moskau. Moskau und die Fotos, die auf dieser Reise entstanden sind, alle 20 Kilometer, werden hier als Zeitraffer wiedergegeben. Auf der einen Seite sozusagen da die Möglichkeit dessen, dass der Screen die Bilder in Real zeigt und auf der anderen Seite, wie man sieht, die Reflexion in einem Medium, das dem Ganzen voranging. Das heißt, hier werden persönliche Erlebnisse der Veränderung auch in Beziehung oder in Kontrast gesetzt zur medialen Veränderung im Bereich Bewegtbild. Das bietet auch so eine Ebene in unserer Abteilung oder auch im letzten Jahr wieder, also auch das Reflektieren und Arbeiten mit unterschiedlichen Medialitäten und dem Wechsel dieser. wenn wir hier schon namensgebend bei der Transformation von Medien sind. Hier ist eine Arbeit, die nennt sich Generation Transformation Film, von Studierenden und einer Lehrenden unserer Abteilung, und zwar der Judith Stesser, die den Kurs für Video bei uns anbietet und mit drei Studierenden im Mai dieses Projekt begonnen hat. Wir haben im Mai als mehr oder weniger Midterm-Activity ein offenes Labor für mediale Transformation und experimentelle Vermittlung betrieben und zwar nennt sich das Metamorph We. Wir haben für eine Woche das SPLACE bespielt und da ist einiges auch entstanden oder Grund gelegt worden, dass man hier jetzt in der Ausstellung Loops of Wisdom sehen kann, unter anderem diese Arbeit. Judith und die Studierenden haben in dem SPLACE angefangen, einen Super 8 Film, den sie selbst gedreht haben, an die Wand zu projizieren und dann immer mit dem nächst kommenden Medium festzuhalten oder zu filmen. Und dementsprechend ist diese Super 8 Projektion dann von Vhs gefilmt worden ich glaube das ist auch das was man gerade hinter mir sehen kann die bilder der vhs kamera diese bilder wiederum sind abgefilmt worden mit mini dvi und die inhalte die man am oder am Screen von MiniDVI sehen konnte, haben dann den Weg gefunden, in Full HD nochmal gefilmt zu werden. Das heißt, diese unterschiedlichen Generationen werden hier nacheinander gezeigt und laufen im Loop ab. Die beteiligten Studierenden waren zusätzlich zu Judith Tesser, Vera Dittenberger, Susanne Hinterberger, Alexandra Leutfellner, Joelle Teodoro und eben die Leiterin der LV selbst. So wie wir hier diese mediale Änderung ganz in einem quasi zeitlichen Verlauf wiedergegeben sehen, ist hier eine Arbeit, die ebenfalls im SPLACE bei Madam of We grundgelegt wurde, von Michael Kramer zu sehen. Er beschäftigt sich mit dem klassischen Medium des Overheads und zwar in Bezug auch darauf, wie und dass er in der schulischen Vermittlung in Österreich sehr lang benutzt wurde. Wir sehen, der Overhead als solches ist unverändert hier. Allerdings gibt es eine Erneuerung oder ein mediales Update. Wie wir jetzt sehen, sind ein paar Handgriffe oder ein paar Methoden, die früher die Lehrperson am Overhead auf der Folie selbst direkt durchgeführt haben, jetzt als digitale Installation wahrnehmbar, indem ein LCD-Display gehackt wurde von Michael, das er auch vor Ort im Splace erprobt hat und seine ersten Versuche da umgesetzt hat. Wenn man jetzt sieht, es tut sich was auf der Projektion, aber hier selbst ist sozusagen wie von Geisterhand natürlich die Veränderung sichtbar, ohne dass ein Zutun oder ein Nutzen einer Lehrperson oder des Menschen selbst erkennbar wird. wird. Vieles von dem, was wir da jetzt gesehen haben, also dieses mediale Nutzbarmachen von Medien, die davor gekommen sind oder das gestalterische Nutzen, besser gesagt von Medien, die davor gekommen sind, ist auch grundsätzlich eine eine Wertigkeit, die wir in der Abteilung auch weitergeben wollen. Also ich möchte nicht unbedingt Marshall McLuhan hier zitieren, aber dieses Vorangehen eines Mediums, das im nächsten Medium wieder vorkommt, ist natürlich eine allgegenwerte Notwendigkeit, das auch anzuerkennen, beziehungsweise liegen diesen Worten auch sehr viele wahre Bereiche zugrunde. Und obwohl wir uns natürlich mit neuen Medien oder wie teilweise eben auch bei uns an der Abteilung proklamiert, mit den nächsten Medien, also Next Media Education auseinandergesetzt wird, dürfen sich unsere Studierenden auch den obsoleten oder den unter Anführungszeichen veralterten Medien widmen, weil eben in diesem Generationenaustausch oder natürlich auch der Notwendigkeit, dass immer einem Medium ein anderes zuvor ging, sehr viel Verwertbares an Erfahrungen, an Lernsituationen zugrunde liegt, einfach ein wichtiger Bestandteil ist, glaube ich, zu lernen, wie man gestalterisch mit Medien umgehen. Und da können wir uns gleich dann noch das nächste Projekt anschauen, was in diese Kategorie fällt, also auch die Kategorie des obsoleten Mediums, wenn man so will. Die Kollegen bauen da gerade was um, das ist ein bisschen lauter, aber wir machen mal da den Schwenk hin zu Susanne Hinterbergers Arbeit Tape Walk, die sich auf der einen Seite der Kassette widmet und auf der anderen Seite die Brücke von der Verarbeitung eines Mediums oder eines obsoleten Mediums. Die Brücke schließt zu dem, wo wir hier begonnen haben und zwar zur Frage der Kodierung und Dekodierung. Die Codierung in diesem Fall ist mit Eisenspänen oder mit Ferroiden, die auf dem Tape angebracht sind und die Dekodierung ist dann eigentlich etwas, das man selbst vornimmt, das heißt die Möglichkeit Headphones aufzusetzen und mit einem gehackten Walkman dann dieses Band, was normalerweise auf einer Kassette aufgewickelt wird und am Lesekopf vorbeitransportiert wird, hier mal umgekehrt erlebbar auszuprobieren. auszuprobieren. Das heißt, das Magnetband ist hier angebracht und in dem Walkman dementsprechend befindet sich keine Kassette und auch kein Lesekopf mehr. Der wurde ausgebaut und gehackt, sodass er jetzt außen liegt. Das heißt, wenn man auf Play drückt und dann langsam über dieses Feld an Tape drüber fährt, ist die Bewegung dann die, die vom Menschen appliziert wird und notwendig ist und nicht die, die die Mechanik im Walkman macht. Mal ganz kurzer Soundcheck, ob das soweit möglich ist. Wieder hörbar zu machen, ich weiß noch nicht genau wie, vielleicht so. Man sieht, es wird eigentlich automatisch dekonstruiert. Es wird in einer gewissen Weise geremixed. Es gibt Glitches und es entsteht sozusagen jeweils auch ein Erlebnis für den oder die Besucherin, das nicht rekreierbar ist und jedes Mal neu und genuin. Genau, diese Soundarbeit schließt jetzt einmal hier unseren Kreis im Foyer des H6 und jetzt gibt es noch zwei weitere Orte, die wir mitnehmen, einerseits eine Arbeit im Keller, wiederum von Michael Kramer und dann machen wir einen kurzen Übergang in die Strafsachengalerie. Hier im Keller bei der Arbeit von Michael Kramer, wie man schon hört, handelt es sich um eine Soundarbeit und zwar gibt es sieben Kanäle, die im Kreis aufgestellt wurden. Man kann als Besucher, Besucherin reingehen direkt und sich die Gesamtheit anhören, die in der Mitte des Raumes entsteht oder näher zu einem oder der Lautsprecher hingehen. Michael Kramer hat hier kooperiert mit einem, mit dem Klick-Kollektiv, das ist ein Kollektiv für Flinter-Musikerinnen. Und dieses technische Setup ist sozusagen von ihm und der klangliche Inhalt ist von diesem Kollektiv. Ich würde vorschlagen, wir gehen einfach kurz hinein. Ich halte das Mikro mal sehr zentral und mich mit dem Sprechen zurück. Und danach gehen wir in die Strafsachengalerie noch. Das ist das, was ich immer höre, sagen, bin ich anders als wer? Anders als du? Und ich weiß nichts dazu. Wie soll ich sein? Ist es das, was du willst? Willst du mich lieber kleiden? Ist es das, was du willst? Willst du mich lieber klein? Ich bin so wie du. Die Welt ist groß. Die Welt ist bunt. Die Welt ist klein wie du. Die Welt ist bunt. Wenn so wie du mich nicht klein. Ich bin nicht klein. Die Welt ist bunt. Mach mich nicht klein. Die Welt ist rund. Mach mich nicht klein. Das tut einfach weh und wenn ich genau nicht sehe, was ich mag, ich es nicht glaube, es ist einfach meins und ich bleibe treu. Ich bleibe treu. Ich bleibe treu. Ich bleibe treu. Ich bleibe treu. Ich bleibe treu. Ich bleibe treu. Ich bleibe treu. Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, heyliches Erlebnis, das natürlich länger dauert, als wir uns jetzt diesen Einblick oder diese Möglichkeit, klanglich einzutauchen, gegeben haben. Aber es sind noch zwei, drei schöne und wichtige Arbeiten in der Strafsachengalerie. Und daher würde ich sagen, wir schließen dort unseren Rundgang ab. Hier in der Strafsachengalerie befinden wir uns jetzt in einem ganz speziellen Setting und zwar ist eine Rauminstallation von Hassan Olu-Kiza. Der beschäftigt sich mit seiner Arbeit Blindspot mit illegalen Pushbacks an der österreichischen Grenze. Das ist auch eine Arbeit, die im Zuge von Madam of We bereits als Setup getestet wurde und hier jetzt ein neues Setup findet in diesem Raum der Strafsachengalerie. Man sieht hinten eine Installation eines Videos, wo er in einem Camp im Wald Betroffene interviewt hat, direkt. Und auf der anderen Seite gibt es dokumentierte Übergriffe, einerseits von Fotos von dem Verein SOS Balkanroute und auf der anderen Seite sieht man auch zwei Projektoren, wo man verschiedene dieser Übergriffe einerseits an einer Map verortet sieht und andererseits wiederum hier dokumentiert sieht durch die Fakten, die auf der zweiten Folie zu sehen sind. Und man kann sozusagen sehr selbstbestimmt unterschiedliche andere Momente auflegen, jeweils dazu die Verortung, wo diese Übergriffe passiert sind und hat damit eine gewisse Handhabe, um diese Rauminstallation für sich selbst als Information nutzbar zu machen, wie die Situation für Geflüchtete an den Grenzen aussieht. Ein sehr wichtiger Beitrag und eine Reflexion, eben wie schon gesagt, darauf, wie in unserer Gesellschaft sich Veränderungen auswirken oder welche Veränderungen, Auswirkungen finden aktuell in Bezug auf das politische oder das soziale Geschehen. Und wenn man aus dem Raum herauskommt, dann ist man im Hauptraum der Strafsachengalerie, wo drei Bewegtbildinstallationen von Studierenden der Abteilung Mediengestaltung zu finden sind. Hier sieht man die Arbeit, heute möchte ich einen Wasserfall anziehen von Rose Schwarz. keinen Weg auszubrechen. Und so beängstigend das Meer an einem Tag wirkt, so wünsche ich es mir am nächsten Tag wieder zu mir. Das ist wiederum eine dieser Arbeiten, wo ich schon gesagt habe, eine sehr persönliche Auseinandersetzung. So fühle ich mich am nächsten Tag und dann. Keine Ahnung, was ich will. Höre auf zu träumen und will wieder auftauchen und still gestillt. Diese Auseinandersetzung hinterfragt eben auch Normativitäten und ein gesellschaftliches Bild. Die Frage auch Kleidung, inwiefern ist das etwas, das ein Gefühl oder Gedanken zum Ausdruck bringt. Wie viel zeige ich von dem, was ich trage oder was sagt das über mich aus? Wie werde ich gelesen? Wie wird insgesamt Mensch wahrgenommen sozusagen? Also auch die Körperlichkeit und Normativitäten werden hier in Frage gestellt und thematisiert. Eine weitere sehr persönliche Arbeit ist die Installation Escape von Schari Kepplinger. Hier sieht man Seiten von einem Personal Journal, das sie dann als Buch gestaltet hat. Personal Journal, das sie dann als Buch gestaltet hat, das wiederum hat sich weiterentwickelt zu dementsprechend diesen Seiten, die hier im Raum schweben und wiederum darauf projiziert, ein Vierakter, diese Vierakte sind jetzt keine Handlungsanweisungen, sondern sollen eher als Akte gelesen werden, wie in Bezug auf ein Theaterstück. Das ist eine sehr persönliche Auseinandersetzung mit Erlebnissen im eigenen Leben und daher wieder eine dieser Arbeiten, die die persönliche Veränderung, die Veränderung des Lebens der Studierenden widerspiegelt. Eine weitere Arbeit von Schari Kepplinger ist Ich habe keine Träume mehr gehabt, die jetzt unseren kleinen Rundgang beendet. Diese Arbeit reflektiert Erlebnisse der Überlebenden des KZs Gusen. Und ich habe keine Träume mehr gehabt, ist eine Aussage, die in Bezug dessen von Überlebenden auch getätigt wurde und die die Studierende so mit sich getragen hat und dann eine entsprechende Umsetzung in Bezug auf eine Videoinstallation dann hier gestaltet hat. Damit sind wir mit den Beiträgen der Abteilung Mediengestaltung Lehramt im Zuge der Ausstellung Loops of Wisdom fertig. Ich freue mich, dass ich euch durchführen konnte. Danke Dorf TV und auch danke der Kunstuniversität Linz. Liebe Grüße an die Manuela Navo, an die Julia Nüßlein und an den Giacomo für die Hilfe der Umsetzung und herzlichen Dank für die Aufmerksamkeit. Ich darf euch eine Arbeit von mir vorstellen. Ich bin Silim Enz. Ich habe eine Arbeit gemacht im Rahmen einer Lehrveranstaltung, die sich Design Fiction nennt. Und die ist bei der Barbara von Rechbach gewesen. Wir waren zu viert. Hier am Screen, das ist meine Arbeit. Und zwar handelt es sich um einen Countdown, der eine Minute läuft, der abläuft und es passiert dann eigentlich gar nichts. Ich habe mich damit auseinandergesetzt, dass ich Erwartungshaltungen durchbrechen. Eigentlich hätte die Arbeit groß gepimpt zwischen den zwei Brückenkopf- Gebäuden gehört, aber das ist leider nicht möglich gewesen, weil das Magistrat das nicht erlaubt und umso größer, umso besser wäre es eigentlich gewesen. Ich glaube, so funktioniert es auch im Kleinen, wenn Menschen sich das anschauen, entschleunigen sie kurz eine Minute und um das geht es eigentlich, dass man sich immer etwas erwartet heutzutage, dass etwas kommt und was passiert als nächstes, was kommt dann und da passiert einfach mal nichts und ich störe einfach Leute, die sich das anschauen, mal eine Minute. Das ist eigentlich eh schon alles. Und ja, es sind viele Countdowns, die gerade laufen, weil Beendigung der Pandemie irgendwie so. Jeder glaubt, irgendwann ist es wieder normal, aber ich glaube, es dauert auch noch länger. Das spielt auch ein bisschen mit, weil die Countdowns auch sehr viel ins Nix laufen. Ja, danke schön! Hi, my name is Alexandra and I designed a device which helps parents and premature born children to establish a bond between them, especially in the situations when they cannot bond skin to skin. So my device is set of two devices, parent device and the Materas inside the incubator, and both of the devices are connected to each other and able to sense, collect and send data from the person who is lying or touching it. The parent device is helping parents to find the connection with the baby and by lying it next to the mother's chest, the device is sensing the breast movement, heartbeat and the temperature of her body and sending it into the incubator so the baby can feel the mother's indirect touch. In the same time, the parent device is providing such data to the mother so she can feel her baby lying on her chest. Hello, this is Johannes Gasteiner, Magda Kremsreiter and Mina Dieraser. We made this project called Urban Living Rooms, which was initially part of the project FLUTE. It was a bigger project we did on the other side of the denube and it was the last semester project the goal with this project was to shift private comfort into public space and to create a place where people can just come together and meet especially during covet and it's already well used by people of the university and also people who are just passing by and are just curious what is happening here so yeah so this was now the tour through the exhibition and welcome to the academy of Thoughts, and we are very warm welcome to the two lectures from Rosemarie Lee and Martin Zeilinger.